Myriam Holme (*1971) has resolutely pursued an expanded concept of painting that extends painterly settings into the sculptural and installation field and questions the generic parameters of art per se. In her multi-layered works, she increasingly transforms found objects into art that still bear a hint of the previous use of the material and open up a space of possibility that reports on the historicity of art and material in a very unique way.
The traces of the material bear witness to its history and, in combination with aesthetic reinterpretations, create alternative narratives. The works are subject to a temporality per se that seems to be experienced almost haptically. Open narratives characterise the abstract works, which reveal the material genesis of the painterly-sculptural process and yet never allow it to become clear.
Traces of paint are juxtaposed with almost gestural colour application and graphic structures. Deliberate painterly gestures frame signs of time in the material and form a whole with chance settings. The artist initiates many processes in order, for example, to trace the inherent laws of the reactions of different materials to each other in reverseworked pictorial structures. Myriam Holme initiates these processes and guides them with her extensive knowledge of materials without determining them as perfect painterly brushstrokes. Rather, she leaves room for the processuality and reactivity in her working method itself, which gives them a special power. For the various painterly moments that Myriam Holme often combines in layers within a work open up an astonishing depth that plays with superimpositions, visibility and invisibility and allows us to discover something new again and again.
However, Myriam Holme's pictorial inventions are never completely left to chance, but are very precisely conceived within this process. Decades of experience in dealing with the varying materials as well as a distinct feeling for colour and form guide the spontaneously made decisions and shape Myriam Holme's works in decided authorship. Not infrequently, materials with varying attributions of value are combined in experimental processes. Thus, silver leaf with a noble appearance meets the surface of a plastic recyclable bag and transports current questions about recycling and the value of materials in our throwaway society.
At the same time, Myriam Holme's works are characterised by a subtlety and exact care in a well-balanced way. This is evident in her collages as well as in her painterly room installations. Despite the material weight of bent and cut metal plates, even Myriam Holme's room-filling, hanging sculptural paintings convey an astonishing fineness and gracility.
The decisive factor in Myriam Holme's new series of works is that they are genuinely conceived out of the material, which produces their particular strength and density. Starting from the wall or the floor, her painterly settings expand into the space and convey the processuality of their path of creation. The varying reactions of the materials used with each other are always a constitutive part of Myriam Holme's precise and very fine, but nevertheless powerful compositions. Lightness and simultaneous determination characterise the fine explorations of the possibilities of painting in space.